MARK OF DIRK EVERT GRAVE, AMSTERDAM, 1777; THE BRANCHES WITH MARK OF HENDRIK CHRISTOPH NICOLAAS WIEDEMAN, AMSTERDAM, 1779, ALSO STRUCK WITH LATER DUTCH DUTY MARK OF 1795 FOR THE HAGUE AND OTHER DUTY MARKS

細節

A magnificent set of six Dutch silver candlesticks and two candelabra
Mark of Dirk Evert Grave, Amsterdam, 1777; the branches with mark of Hendrik Christoph Nicolaas Wiedeman, Amsterdam, 1779, also struck with later Dutch duty mark of 1795 for The Hague and other duty marks
Each on fluted square base with canted corners, the corinthian column stem applied with swags and chased with laurel leaves, the detachable candelabra each with three branches with laurel leaf swags attached to the urn-shaped capitals by small rosettes, the capitals chased with laurel leaves and guilloche bands beneath flame finials, the branches with leaf-shaped drip-pans and fluted sockets
52.4 cm. high (candelabra) and 29.2 cm. (candlestick)
8518 gr. (10)

來源

The Wendell Cherry sale, Sotheby's New York, 1994, lot 64, illustrated.

注意事項

Christie's charge a premium to the buyer on the final bid price of each lot sold at the following rates: 23.8% of the final bid price of each lot sold up to and including €150,000 and 14.28% of any amount in excess of €150,000. Buyers' premium is calculated on the basis of each lot individually.

拍場告示

Please note that the maker Jan Smit is now identified as Dirk Evert Grave.

拍品專文

This large set of six candlesticks and two candelabra was executed in the Dutch Louis XVI style of the late 18th Century. This style which returned to symmetry and classical motifs originated in France as a reaction to the Rococo. It was further stimulated by excavations in the Roman towns Pompeii and Herculaneum in the 1740s and 1750s, initiated by well-off English and French amateur-archaeologists known as 'dilletanti'.
These excavations have been a major source of inspiration. The longing for the glorious era of the reign of Louis XIV, also known as 'La Grande Siècle, made the French apply classical motifs in a much more vivid , decorative way than the English, who developed a more archaeologically style of Neo-Classicism. It took the classical revival about twenty years to surpress the naturalistic Rococo. The 1760s saw a transitional style, but soon after the French monarchy had adopted it as the official national style, the French Neo-Classicism triumphed around 1775. At first the Dutch followed the French but after 1790 the ridged and archaeological English style became popular in Holland.
Most of the ornamentation of this time appeared in laurel and beaded bands, garland swags, ribbons, trophies, (portrait)medallions, small rosettes, column-shaped feet and stems.